Month: December 2022

Today’s quick review: The Lobster. In a bleak future, single people are given 45 days to find a new partner or else they are transformed into animals. After his wife leaves him, David (Colin Farrell) is sent to a hotel for singles, where he undergoes the rigors of the matchmaking process. His attempts at finding a compatible partner are unsuccessful until he leaves the hotel and finally meets a woman he has something in common with (Rachel Weisz).

The Lobster is a dystopian sci-fi movie with elements of horror, dark comedy, and romance. The movie is set in a world where, for unexplained reasons, being part of a couple is mandatory and being single is effectively a death sentence. This bizarre premise sets the stage for an inversion of a typical romance. Rather than let their emotions guide them, David and the other occupants of the hotel use superficial characteristics to pick their partners.

The Lobster makes for a strange and unsettling watch. The characters are not like regular people, exhibiting a limited range of emotions and resorting to violence whenever it benefits them. Their conversations are dry and factual, their personalities are close to uniform, and their struggles seem to exist on a different moral axis than real life. The result is a tense, distorted experience that offers plenty of questions and few answers.

The value in The Lobster comes from a few specific sources. One is its odd world and dry presentation style. Viewers who are drawn to the unusual and inexplicable will find that it’s an interesting movie to puzzle over, as will anyone who is fascinated by social situations that tip over into horror. The other major appeal is the movie’s commentary on romance and courtship, mainly in the form of satire that takes them to ludicrous extremes.

Unfortunately, The Lobster is not very accessible. The same qualities that make it stand out also deny it anything resembling a traditional emotional arc. The flashes of violence and other mature content will turn off some viewers, while the movie’s slow, almost painful setup will repel others. The right viewer will find The Lobster to be a thought-provoking watch, but many will find it flatly unappealing.

For an even more unsettling thriller that uses a surreal setup to explore the darker parts of humanity, try Enemy. For an uncomfortable thriller that has more overt comedy and a more shocking payoff, check out Parasite. For a science fiction movie about a cold future, try Gattaca, Equals, The Giver, or Equilibrium. For more dark, violent social commentary, try High-Rise. For movies with similar quirks and more charm, try the work of Wes Anderson.

7.2 out of 10 on IMDB. I give it a 6.0 to 6.5 for dry execution of an odd premise; your score will vary.

Today’s quick review: Ruby Sparks. Calvin Weir-Fields (Paul Dano), a popular writer struggling with his second book, finally finds his muse when he invents Ruby Sparks (Zoe Kazan), the quirky girl of his dreams. As Calvin writes page after page about her, he falls head-over-heels in love. But his novel takes a strange turn when Ruby comes to life, leaving him with a perfect relationship that he knows can’t be real.

Ruby Sparks is a romantic fantasy comedy about a writer who falls in love with his creation. Paul Dano stars as Calvin, a talented writer having a hard time managing his career, his nonexistent social life, and the aftereffects of a messy breakup. Given a shot at the relationship he always wanted, he learns that real life is more complicated than he thought. This setup allows Ruby Sparks to explore a variety of themes touching on love and writing.

Ruby Sparks covers some interesting ground. The movie is, in part, a dissection of Calvin and his flaws, from the pressures on him as a writer to his controlling tendencies in relationships. Ruby’s unexpected appearance brings out the best and worst in him. On the one hand, Calvin finds confidence and happiness with a woman who loves him for who he is. On the other hand, he comes to realize that Ruby is missing the complexity of a real person.

However, one part of Ruby Sparks’ premise holds it back. Because Ruby is so malleable, she has a hard time developing a character of her own. Her relationship with Calvin oscillates bewteen idyllic bliss and artificial strife as Calvin tries to figure out what he wants. This is an important part of the plot, but it undercuts the kind of growth that romances thrive on. The result is an odd love story that’s more intellectual than emotional.

Ruby Sparks is an offbeat comedy that will appeal to fans of modern romance and the creative process. It does not hold the same appeal as most romantic comedies, with subdued humor and a peculiar emotional arc, but its clever musings on love and happiness make it a worthwhile pick for the right viewer. Those curious should give it a try.

For a more dramatic comedy about a fictional character made real, try Stranger Than Fiction. For an even stranger story about a struggling writer, try Adaptation or Barton Fink. For a romantic comedy in the same vein, try 500 Days of Summer or Eternal Sunshine of the Spotless Mind. For one about a man with a fictitious girlfriend, try Lars and the Real Girl.

7.2 out of 10 on IMDB. I give it a 6.5 to 7.0 for a creative premise with decent payoff.

Today’s quick review: Lars and the Real Girl. Lars (Ryan Gosling), a kind but reclusive man, shocks his brother Gus (Paul Schneider) and sister-in-law Karin (Emily Mortimer) when he brings home a new girlfriend: Bianca, a life-sized doll that Lars believes is real. Left with no choice but to go along with Lars’ delusion, Gus and Karin make a place in their lives for Bianca and help Lars work through the issues causing his strange behavior.

Lars and the Real Girl is a romantic comedy about an isolated man who connects to others through his fake girlfriend. Bianca not only gives Lars the loving relationship he needs, but she also gives him a way to practice being social in a way that he can’t in his day-to-day life. The movie maintains a careful balance between the light social humor surrounding Bianca and some deeper psychological themes, making for a strangely wholesome watch.

The heart of Lars and the Real Girl is the way Lars’ friends and family react to his condition. The community rallies around him, making Bianca welcome and showing tremendous compassion for Lars in his time of need. This dynamic paves the way for a few heartwarming moments as the pieces of Lars’ life click into place. The film does not go for heavy drama or overt humor, but it has a knack for delivering simple and unexpected moments of humanity.

Lars and the Real Girl will not appeal to everyone. Its quirky premise takes some getting used to, its humor is understated, and its best moments are buried late in the story. But the movie manages to thread the needle, telling a charming story without being too heavy-handed. Viewers who are willing to take a gamble on an unconventional story will be rewarded with an uplifting watch with plenty of heart.

For a classic comedy about a kind man and his imaginary friend, check out Harvey. For a science fiction romance about an isolated man trying to connect, try Her. For a quirkier comedy about an earnest man who shares his delusion with the world, try Brigsby Bear.

7.3 out of 10 on IMDB. I give it a 7.0 for heartfelt charm.

“The past is just a story we tell ourselves.” —Samantha

Today’s quick review: Her. Theodore Twombly (Joaquin Phoenix), a lonely man going through a messy divorce, gets a new lease on life when he meets Samantha (Scarlett Johansson), an artificially intelligent operating system with her own personality. As the two get to know each other, they gradually fall in love and begin dating. But as their relationship evolves, Theodore must decide whether what they have is real or simply a delusion.

Her is a science fiction romance that explores the shifting nature of relationships in an increasingly technological world. The invention of advanced AI makes a whole new kind of relationship possible, one that’s either a new form of fulfillment for those who need it most or an escapist trap built on fantasy. Her crafts its world with care, using Theodore and Samantha to reflect on deeper questions about love, happiness, and the role of technology.

Her goes to great lengths to set its tone. Everything from the color palette to the soundtrack to Theodore’s mannerisms has a soft, pensive feel to it, setting the stage for an introspective story that leans heavily on emotion. Joaquin Phoenix and Scarlett Johansson deliver convincing performances, and the script gives them ample opportunity to play off one another. The result is a deeply personal story about a man’s search for fulfillment.

At the same time, Her can be a hard movie to get into. Its sentimental tone will feel overbearing for some viewers, while Theodore’s relationship with Samantha can easily come across as pathetic to someone who doesn’t buy into the film’s thesis. Her relies on a very particular kind of suspension of disbelief, a willingness to invest in Theodore’s personal struggles and accept the conclusions he comes to about love and life.

Her is a carefully crafted film with considerable upside potential. The right viewer will find it to be an insightful and poignant watch whose main value comes from its honest portrayal of a budding relationship, with all its ups and downs. The wrong viewer will find it to be passive and misguided. Either way, Her accomplishes what it sets out to do, making it a worthwhile pick for those willing to buy into its premise.

For a romantic comedy with a similarly modern perspective on relationships, try 500 Days of Summer, Eternal Sunshine of the Spotless Mind, or High Fidelity. For a more fanciful movie that gets inside the head of a lonely man, try Stranger Than Fiction or The Secret Life of Walter Mitty. For a darker sci-fi movie that touches on similar themes, check out Blade Runner 2049.

8.0 out of 10 on IMDB. I give it a 7.0 to 7.5 for emotionally potent sci-fi speculation; your score will vary heavily.

“Our ability to manufacture fraud now exceeds our ability to detect it.” —Viktor

Today’s quick review: S1m0ne. Viktor Taransky (Al Pacino), a washed-up director, gets the chance to salvage his career when he inherits Simone (Rachel Roberts), a virtual actress capable of fooling even the most critical observer. Simone becomes an overnight sensation and makes Viktor one of the most sought-after directors in the business. But as Simone’s career takes on a life of its own, Viktor grows jealous of his creation’s success.

S1m0ne is a science fiction comedy about a virtual actress who takes the world by storm. Al Pacino stars as Viktor Taransky, a director who bends over backward to keep the truth behind his artificial star a secret. S1m0ne opts for a light tone and safe humor, earning its laughs from the lengths Viktor goes to to make Simone a reality. Even though S1m0ne sticks to a formula, its clean execution and insightful writing make it a hidden gem.

S1m0ne has aged surprisingly well. The movie never loses itself in social commentary, but its observations on fame, technology, and the media are even more relevant now than when it was released, and the script is peppered with moments that cut to the core of these issues. Importantly, S1m0ne knows how to keep things light. It takes shots at everything from the movie industry and the artificial nature of celebrity, but it never comes off as bitter.

S1m0ne is a strangely insightful comedy that never loses sight of what it is. It is outclassed by other comedies in terms of raw humor, and there are other science fiction movies that offer a deeper treatment of its themes. But anyone willing to take a gamble on something light will find it to be a pleasant watch with a handful of thought-provoking ideas.

For another comedy about a well-meaning fraud, check out School of Rock or Mrs. Doubtfire. For a more dramatic musing on people’s attachment to artificial creations, try Blade Runner 2049 or Ex Machina.

6.1 out of 10 on IMDB. I give it a 7.0 for light comedy and trenchant commentary.

Today’s quick review: The Congress. Looking back on a career of missed opportunities, actress Robin Wright (Robin Wright) lets her agent Al (Harvey Keitel) talk her into selling her digitized likeness to Miramount Studios to use however they wish. Years later, Robin travels to an exotic hotel to renegotiate her contract with studio executive Jeff Green (Danny Huston), only to find herself trapped in a chemically induced hallucination.

The Congress is a surreal science fiction drama loosely based on a novel by Stanislaw Lem. Robin Wright stars as a fictionalized version of herself who decides to sell her identity for one last shot at stardom. The Congress touches on far-reaching themes that include family and show business, escapism, technological advancement, and questions of identity and self. The result is an imaginative film with powerful ideas and an esoteric plot.

The most striking feature of The Congress is its mixture of live action and animation. Much of the movie is set in a future where advanced chemicals have turned reality into a subjective, cartoonish dreamscape. The Congress makes the most of this premise, flooding the screen with classic-style cartoon characters and psychedelic imagery that give it a unique visual style. However, the surreal nature of the visuals is bound to be hit-or-miss.

The Congress’ story is a mixture of grounded personal drama and far-flung speculation. The early parts of the film deal with the uncomfortable reality of Robin’s life. Her advancing age and her own choices have brought her career to an end, leaving her only one option: to cash in on Miramount’s plans for the future. The remainder of the film is much more abstract, spinning this personal thread into a bizarre trip through the future.

How much you get out of The Congress will come down to taste. The movie’s far-fetched premise, strange plot, and numerous dream sequences make it a challenging watch. It has neither the coherence nor the emotional resonance of more conventional films, and nearly all of its payoff comes from the ideas it presents to the viewer. Fans of puzzling, abstract sci-fi will find it to be a rare treat, but most other viewers will find it unsatisfying.

For another fictionalized look at the life of an actor, try Being John Malkovich or JCVD. For a more cheerful blend of cartoon and reality, try Who Framed Roger Rabbit?. For an animated sci-fi movie about a surreal dreamscape with a richer plot, check out Paprika. For a similarly abstract fantasy, try Mr. Nobody or The Fountain. For another surreal journey through an animated world, try Yellow Submarine or Mirrormask.

6.5 out of 10 on IMDB. I give it a 6.5 to 7.0 for bold ideas woven into an inaccessible story.

“I’m a pimp, and pimps don’t commit suicide.” —Boxer Santaros

Today’s quick review: Southland Tales. In 2005, a nuclear attack on the United States sent the country down a path of war, political turmoil, and state surveillance. Now, in the lead-up to the 2008 election, Boxer Santaros (Dwayne Johnson), an actor with political connections, finds himself at the center of a blackmail plot that could swing the election. But even more troubling are signs that his latest, apocalyptic screenplay could be prophetic.

Southland Tales is a science fiction thriller that blends elements of dark comedy, mystery, and political satire. The movie features a sprawling plot that involves a presidential election, an ex-porn star’s new career, a suspicious new source of renewable energy, a violent revolutionary group, and a veteran coming to terms with his past. However, the story proves to be more than it can handle, resulting in a jumbled movie with only niche appeal.

Southland Tales runs on a mixture of social commentary and surreal science fiction. The setting is a political playground, a dystopian take on America that lets the movie explore a grab bag of themes and hypotheticals. It is populated with caricatures of politicians, activists, and celebrities, all of them contributing in their own way to the coming destruction. At its best, this gives the movie a colorful, larger-than-life quality to it.

The story is a loosely connected mystery about Boxer Santaros, an actor who went missing in the desert and returned with amnesia. In way over his head, Boxer tries to piece together what happened to him, all while falling deeper into an amateurish political conspiracy. Southland Tales starts disjointed and only gets more surreal as the movie progresses. While it eventually delivers some answers, they are dwarfed by the number of questions it raises.

Ultimately, Southland Tales is too ambitious for its own good. The political satire robs the characters of the normalcy and nuance the audience needs to connect with them, resulting in a movie that’s hard to invest in at an emotional level. The story is a cacophony of different ideas that all compete for the audience’s attention, making it hard to follow at best and incomprehensible at worst. Nothing about it makes for an easy or coherent watch.

Yet for all of its faults, Southland Tales will hold a certain appeal to fans of surreal science fiction and vocal political commentary. Tucked away in its script are a number of clever ideas that never get their chance to shine, and a subset of viewers will enjoy trying to puzzle together the meaning in the chaos. Those curious may want to give it a try, but general audiences should steer clear.

For a more outrageous political satire about the War on Terror, try War, Inc. For a sci-fi tinged political thriller with a much more grounded plot, try The Adjustment Bureau. For a sci-fi conspiracy thriller with more action, try Total Recall or Minority Report. For a noir-style investigation with a similarly abstract through-line, check out The Big Bang. For a surreal puzzle in the same vein, try Revolver, The Nines, Cloud Atlas, or Mr. Nobody.

5.4 out of 10 on IMDB. I give it a 6.0 to 6.5 for an ambitious story with only niche appeal.

“You can’t fall in love with a dream.” —Douglas

Today’s quick review: The Thirteenth Floor. Douglas Hall (Craig Bierko) is a programmer who has spent the last six years building something incredible: a fully functional simulation of 1930s Los Angeles. But when the head of the project, Hannon Fuller (Armin Mueller-Stahl), is found dead, Douglas finds himself at the center of a bizarre murder investigation. To find the answers he seeks, he will need the help of Fuller’s daughter Jane (Gretchen Mol).

The Thirteenth Floor is a science fiction mystery that speculates about the nature of reality and consciousness. The movie is speculative fiction at its purest: a story with one conceit—a simulated world, complete with its own people—that leads to plenty of interesting ramifications. The Thirteenth Floor is a straightforward mystery that fits together well, with strong leads for Douglas to investigate and a satisfying resolution.

Still, The Thirteenth Floor has a few clear limitations. The story moves slowly, taking care to establish the characters and the simulated world before throwing anything too shocking at the viewer. This cautiousness extends to other aspects of the film, including a relatively linear plot and a narrowly scoped climax that doesn’t go for heavy drama or action. The result is a modest but well-constructed mystery that toys with interesting ideas.

The Thirteenth Floor is a solid pick for fans of speculative fiction. It is more subdued than other sci-fi thrillers, without much emphasis on action, but it tells its story well. Those looking for a cerebral mystery with a sci-fi twist should give it a shot. Those looking for something more visually spectacular or emotionally wrenching may want to give it a pass.

For a visually and tonally darker movie that explores a similar mystery, try Dark City. For a more ambitious and action-packed examination of the nature of reality, try Inception or The Matrix. For another type of speculation on the nature of consciousness, try A.I. Artificial Intelligence.

7.1 out of 10 on IMDB. I give it a 6.5 for an interesting concept with mixed execution.

Today’s quick review: Bird Box. Society crumbles with the appearance of mysterious entities that drive the people who see them to commit suicide. Malorie (Sandra Bullock), a pregnant woman, finds shelter with Tom (Trevante Rhodes), Douglas (John Malkovich), and a small group of survivors. Five years later, Malorie, now on her own, takes two children (Vivien Lyra Blair and Julian Edwards) on a perilous journey to safety.

Bird Box is a survival thriller with horror elements. Sandra Bullock stars as Malorie, a cynical woman who must learn to survive in a world where one wrong glance can mean death. Bird Box uses its premise to good effect; the need for a blindfold makes every trip outside into a suspenseful ordeal, while the pressures of survival give the movie its share of character drama. The result is a tense watch with a unique enough premise to set it apart.

However, Bird Box does have a problem with suspension of disbelief. The film generally does a good job of selling the audience on its premise, and the tension is high throughout. But the abstract nature of the threat makes it easy to stop taking it seriously, a problem that’s compounded by the bizarre image of characters stumbling around in blindfolds. Bird Box compensates for these lapses quickly, but critical viewers won’t find the movie convincing.

Give Bird Box a shot when you’re in the mood for a tense thriller with a unique premise. Bird Box doesn’t have the horror, drama, or thrills of the beset the genre has to offer, but it does manage to tell an interesting story with lots of tension throughout. Those willing to accept what the movie has to offer will find it to be a worthwhile watch. Those looking for full-blown horror will want to look elsewhere.

For a harder-hitting movie with a similar premise, try A Quiet Place. For a more dramatically moving tale of survival, try Children of Men or The Road. For one with less dramatic heft, try The Happening.

6.6 out of 10 on IMDB. I give it a 6.5 to 7.0 for solid craftsmanship.

Today’s quick review: Legion. As the Apocalypse draws near, the archangel Michael (Paul Bettany) disobeys God and descends to Earth to give humanity one last chance. Traveling to a truckstop in the Mojave Desert, he helps a motley group of survivors protect Charlie (Adrianne Palicki), a pregnant waitress whose unborn child holds the key to humanity’s survival, from the archangel Gabriel (Kevin Durand) and a legion of possessed humans.

Legion is an action horror movie about a lone angel trying to fend off the end of the world. The movie uses a dark twist on Christian theology as fuel, casting angels in the role of the monsters and a band of strangers led by Michael as the reluctant heroes. Legion offers a mixture of gun-toting action and effects-driven horror. At its best, the movie is a desperate fight for survival against a fearsome supernatural threat.

However, Legion has trouble following through on any of its ideas. It has a few superficial scares, but none of them leave a lasting impact. Each threat the survivors face feels isolated from the others, a series of escalating supernatural encounters that have very little to do with each other. The role of Charlie’s baby is left frustratingly vague, while the lack of story development keeps the movie from exploring any of its characters’ arcs.

Overall, Legion will appeal to fans of schlocky horror movies and no one else. Modest scares, a smattering of action, and a serviceable plot make it a fine popcorn watch for viewers with low expectations. But anyone looking for masterful horror, thrilling action, or a fulfilling story should look elsewhere. For action horror with more attitude, try Constantine or Hellboy. For a dark thriller about an isolated group of strangers, try Identity.

5.2 out of 10 on IMDB. I give it a 6.0 for passable action and a thin but functional story.